The Classicist is an annual journal dedicated to the classical tradition in architecture and the allied arts. Focused on Florida, the Classicist No. 17 explores the city’s rich architectural history as well as contemporary examples of classical design through professional and student portfolios as well as academic articles authored by leaders within the field. Contributors include Guest Editor Elizabeth Plater-Zyberk; Leslee F. Keys, Director of Historic Preservation and Assistant Professor of History at Flagler College; Bruce Stephenson, professor at Rollins College; Wayne Wood, O.D., Hon. AIA, Historian-at-Large for the Jacksonville Historical Society; Beth Dunlop, writer and editor specializing in architecture; Michael Mesko and William Rutledge; and Andres Duany, founding principal of DPZ CoDesign.
The Classicist is an annual journal dedicated to the classical tradition in architecture and the allied arts. Focused on the United States’ Washington Mid-Atlantic region, the Classicist No. 18 explores the city’s rich architectural history as well as contemporary examples of classical design through professional and student portfolios as well as academic articles authored by leaders within the field. Contributors include Guest Editor W. Barksdale Maynard, architectural author; Witold Rybczynski, Martin and Margy Meerson Professor Emeritus of Urbanism at the University of Pennsylvania; David Frazer Lewis, Associate Professor of Architectural History at the University of Oxford; and Bryan Clark Green, Director of Historic Preservation for Commonwealth Architects in Richmond.
The Classicist is an annual journal dedicated to the classical tradition in architecture and the allied arts. Focused on the state of Texas, the Classicist No. 19 explores the state’s rich architectural history as well as contemporary examples of classical design through professional and student portfolios as well as academic articles authored by leaders within the field. Contributors include architectural historian Stephen Fox; Anna Nau of Ford, Powell & Carson Architects; Tara Dudley of the University of Texas at Austin School of Architecture; Kenneth Hafertepe of Baylor University; and architectural author James Wright Steely; alongside submissions to the professional and academic portfolio.
The Classicist is an annual journal dedicated to the classical tradition in architecture and the allied arts. Focused on New England, the Classicist No. 20 explores the region’s rich architectural history; contemporary examples of classical design through professional and student portfolios; and academic articles authored by leaders within the field. Contributors include Michael J. Lewis, Professor at Williams College and architecture critic for the Wall Street Journal; Kenneth Hafertepe, Professor at Baylor University; Aaron M. Helfand, Architect at Knight Architecture in New Haven; Sarah Allaback, author and architectural historian; Mark Alan Hewitt, architect, preservationist, and architectural historian; Keith N. Morgan, architectural historian and Professor Emeritus at Boston University; Kyle Dugdale, architect, historian, and Senior Critic at Yale University; and John Tittmann, founding partner at Albert Righter Tittman Architects, alongside submissions to the professional and academic portfolio.
The Classicist is an annual journal dedicated to the classical tradition in architecture and the allied arts. Focused on Northern California, the Classicist No. 21 explores the region’s rich architectural history; contemporary examples of classical design through professional and student portfolios; and academic articles authored by leaders within the field. Contributing authors include Daniel Gregory, architectural historian and editor; Laura Ackley, author of San Francisco’s Jewel City: The Panama-Pacific International Exposition of 1915; Lucia Howard, Partner at Ace Architects and Piraneseum; Therese Poletti, author of Art Deco San Francisco: The Architecture of Timothy Pflueger and journalist at MarketWatch; and Andrew Shanken, Professor of Architecture at UC Berkeley College of Environmental Design.
The Classicist is an annual journal dedicated to the classical tradition in architecture and the allied arts. Focused on Ohio, the Classicist No. 22 explores the region’s rich architectural history; contemporary examples of classical design through professional and student portfolios; and academic articles authored by leaders within the field.
FMR No. 15 is filled with running water, but also so much more: Théophile Gautier on the tombs of Egypt, to go with a major new exhibition in Rome; the vintage doorknockers of the Cesati collection, on show at the Masone Labyrinth, Simone Facchinetti on the hidden faces of painting. Then, the massive monument of the Chronicle of Georgia, dominates the manmade lake outside of Tbilisi. Giorgio Antei on Piero di Cosimo’s saga of Primitive Humanity, created in Medici Florence. Uncanny Atlantis by Patanè, Villani, and von Neipperg, brings us the paintings of Andrei Beloborodov, who dreamed of silent ruins flooded by vast waters. Then “The Congolese Envoy” focuses on a bust in polychrome marble at Santa Maria Maggiore (Rome), depicting António Manuel Ne Vunda, Congolese envoy to the Holy See. Last of all, Stefano Salis visits the Party Pavilion at the Grand Hotel of Castrocaro, decorated by Tito Chini.
In a symbolist striptease, Moreau painted Salome’s lethal fan dance twice. Fochessati explores what Dickinson called “The Homesick Eye” in a show in Genoa. There’s a Mood Indigo spreading over San Diego’s El Prado, as Shugaar describes: the show is Blue Gold. Salis looks back fondly at buxus, a cousin of Masonite beloved by Futurist Fortunato Depero. Navoni describes the latest auction of work by Vigée Le Brun as well as her wanderings across half the courts of Europe. Scaraffia describes the Japanese painter Foujita in Lost Generation Paris, with his bowl haircut and round Lennon glasses. Maróti brought the style of the Hungarian Secession to Mexico City’s Palacio de Bellas Artes. Dell’Acqua tells us about the ivories of Salerno, a finely etched medieval diorama of the Bible, from Creation to Pentecost. Brilli reminisces about the Marmore Falls, a spectacular manmade cascade. And Mariotti brilliantly revisits the metaphysics of coin banks.
Issue 7: In our cover story, Roberto Tassi evokes a museum of Italian agrarian life, featuring brilliant if humble creations that transcend their utilitarian origins. The Manila Galleon carries both stunning Japanese folding screens and the gifted craftsmen who made them, across the Pacific to Novohispanic Mexico (Hwee Lie Bléhaut & Rodrigo Rivero Lake). In a magnificent show at the Hudson Valley’s Magazzino Italian Art, the geometric daring of architect Carlo Scarpa’s glasswork, created in 1920s-40s with Murano’s master glasscrafters (Marino Barovier). Vincenzo Patanè recounts Lord Byron’s last love, in Ravenna, while reviewing the great works of 19th-c. art that sprang from Byron’s unique visions. In Hors d’Oeuvres: Nobelist Orhan Pamuk’s Mr. PA returns to the Met, to delve into the secrets of Cézanne’s The Card Players, Simone Facchinetti studies the tricks of the art dealer’s trade, and we fondly remember our friend and colleague, Italo Calvino on the centennial of his birth.
Through a selection of Edvard Munch works the Norwegian award-winning author Lene Ask invites children of all ages to draw and be creative together with Munch. The book has texts by Ask accompanied by exercises that are related to Munch’s way of experimenting and encourage children to participate in the wonderful world of Munch’s art. Design by Aslak Gurholt, one of Norway’s most renowned and award-winning book designers.
Ages 8+
FMR issue number 9, arriving on the vernal equinox, is wholly devoted to the world of plants, our humble and yet noble fellow travelers on this earthly plane: we range from botanical details in the masterpieces of the Prado to a tropical jungle painted in monochromatic grisaille in a Mexican monastery, from a Korean painter’s hyperrealistic cacti to an esoteric Genoese garden, and from the vegetable festoons of the Villa Farnesina to Gaetano Gandolfi’s portraits of great botanists. In the front of the book, we see again, after a one-issue hiatus, Nobel Laureate Orhan Pamuk’s “Mr. PA” visiting the museum.
A short story by Strega-award author Tiziano Scarpa accompanies cutting-edge porcelain work. Once again, historical women artists fetch a premium under the auctioneer’s hammer for Simone Facchinetti. A Dolce & Gabbana show spotlights Sicilian handicrafts, as Pietro Mercogliano tells us. The untutored, intuitive Franco-Tuscan artist Élisabeth Chaplin painted glowing portraits of her home, her family, and herself, by Cristina Nuzzi. Antony Shugaar narrates the feats of the starchitect of her time, Julia Morgan, who shaped Hearst’s Castle. Sylvia Ferino-Pagden describes how the selfies of the 16th century were advertisements for the work of Sofonisba Anguissola. Luísa Sampaio narrates René Lalique’s work as a jeweler, before he turned to glass. Rafael Barajas Durán lays out the political theory underlining Surrealism in the work of Remedios Varo. And Giorgio Antei tells the tale of the statesmanship and horseflesh haggling behind the two wives – a Savoy and a Farnese – of Spain’s Philip V.
Front of the book: Nicolò Rossi and Gabriele Finaldi, director of London’s National Gallery, write about a restored Parmigianino in London; Maria Cristina Chiusa presents Lucio Rossi’s photographic reconstruction of Correggio’s dome of San Giovanni in Parma; Massimo Navoni tells of a pilfered Titian’s recovery and record-breaking sale at auction. VP of the NY Art Deco Society Anthony W. Robins recounts the dazzling New York of the Roaring Twenties, with photographs by Roberto Bigano. Then, Florentine Renaissance birth trays, specially decorated, for refreshments for new mothers, with an article by Jacqueline Marie Musacchio. Giorgio Antei writes about the Codex Cospi, a rare surviving pre-Columbian manuscript. Baroque Italy, for an overall view of Palermo’s Oratory of San Lorenzo, with a special focus on Serpotta’s stuccowork; text by Giorgio Villani, photographs by Massimo Listri. Last of all, Giovanni Mariotti describes the assemblages of contemporary sculptor Marco Barina.
Issue 13 opens with a Serafini show, “Madcappery and Genius,” at Masone Labyrinth. “Sweertsmania” reigns with art by Sweert, by Simone Facchinetti. In “Modern Baroque,” Giorgio Villani explores Catalan muralist Josep Maria Sert and a client list ranging from Rockefellers to French princesses: lavish abundance in stunning grisaille. In “Crystals, Castles, Seas, and Stars” Ezio Godoli explores the visionary work of Bohemian Wenzel Hablik. In “When Knighthood Was in Flower,” Eduardo Barba Gómez describe the floral codes implicit in a painting by Vittore Carpaccio, pride of the Prado. In “Portrait of Botero as a Young Man,” Giorgio Antei recalls an artist he once knew in nine parables: how the underfed young Botero invented an esthetic of plumpness. In “His Terrible Swift Brush,” Amy Durrell tells how, long before “Gone with the Wind,” Atlanta adopted its own big-screen epic of the Civil War. In “Notes from Underground, Caterina Napoleone recalls how Giuseppe Barberi told Rome a tale of its own history.
FMR No. 14 opens with the story of Paolo Veronese, then recalls the story of the creation of the Labyrinth as recalled by Ricci himself 10 years ago. Rosita Copioli explores the mythography of Hermes, and Massimo Navoni recalls the rise and fall and rise again of Tamara de Lempicka. Enrico Dal Pozzolo, curator of the major Veronese show at the Prado, recounts Paolo Caliari’s life. Giorgio Antei tells a picaresque tale of his travels in Oaxaca, Stefano Salis spins a story of Sardinian bread, Cristina Nuzzi looks back on Richelieu’s great art trove, and Maurizio Bettini descries the evocative moment of Trajan at the mouth of the Tigris, gazing longingly at a ship sailing off to India, envious of the exploits of Alexander in Punjab and along the Indus and Ganges Valleys.
Greed, hubris and narcissism: qualities that define many leaders and have grown to be part of today’s society and structures. Too often these qualities are seen as key ingredients for successful leadership, while they are actually a recipe for disaster. The so-called profit of this type of leadership runs at the expense of ourselves. In this book Bruno Rouffaer encourages leaders to find new motives: altruism, humility, the quest for balance, which see man as a whole and combine sustainable growth with the wellbeing of future generations. No Way advocates change: the Big bad boss era is over!
In Issue 6, we explore the Grand Tour, a 250-year tradition of English aristocracy, of spirit or purse, visiting the art capitals of France and Italy, with articles by Nicholas Foulkes, Fernando Mazzocca, Pietro Mercogliano. Giorgio Antei revisits Olga de Amaral, Colombian textile artist. We visit the home of Luigi Serafini, creator of a mysterious world: texts by Giorgio Villani, Laurel Saint Pierre, Justin Taylor. Then Maino’s take on Giuseppe Castiglione, a Jesuit missionary and the Kangxi Emperor’s court painter in 18th-c. Beijing, mixing Western and Chinese styles. Gabriele Reina dives into pre-Impressionist Provence; Giovanni Mariotti evokes a Provençal hybrid dragon. In Hors d’Oeuvres: Nobelist Orhan Pamuk’s Mr. PA goes to the Met, to study Goya, Massimo Navoni visits Milan’s ex-Ansaldo factory, Cristian Valenti views the work of Ugo Celada da Virgilio, and Antony Shugaar teases out the history of a name, Diomira, in the memories of three great Italian authors.
Classic, refined, and alluring are just some of the ways to describe Sarah Blank Design Studio’s timeless kitchen designs. Sarah Blank’s vast expertize in the classicist language spanning many decades and her creative vision for contemporary elegance form the basis of her understanding that a beautiful and functional kitchen is not only an integral part of the architecture of the house, but the very heart of the home. She incorporates a set of rules and principles in her work that are imperative to beautiful and functional design, mastering some of the finest kitchens ever developed for a new generation of happy homeowners. This beautifully photographed volume presents a stunning selection of award-winning projects, each showcasing exquisite beauty, attention to detail, and technical prowess.
“The well-judged employment of classical detail in a new home has an additional significance that cannot be underestimated. It is an expression of an informed personal choice and an evocation of the delight in the human senses. This is true of all the houses featured in this book.” Jeremy Musson
“The architects and craftsmen that Phillip has featured in this wonderful book all have a love for classical detail. The art is alive and well, as can be attested to in these pages.” David Easton
In The Art of Classical Details, Phillip James Dodd takes a close-up look at some of the finest examples of contemporary classical architecture. The book consists of two chapters: The Essays and The Projects. Starting with a foreword by renowned decorator David Easton, The Essays are written by some of today’s most sought after architects, scholars and craftsmen. Accompanied by sumptuous full page photographs and renderings that illustrate a use of fine materials, intricate detailing, and superb artisanship, these insightful texts are essential reading for anyone with an interest in the theory, practice and craft of classical design. The Projects presents an illustrated look at 25 of today’s finest classically-designed homes. Employing the theories prescribed in the writings of the first chapter, this portfolio of contemporary buildings exhibits the work of some of the most recognizable and celebrated architects in Great Britain and the United States. The work featured in within this book demonstrates the timeless beauty of classicism, and delights in the role that superbly crafted details play in creating art.
This is a richly illustrated monograph revealing William T. Baker’s masterful detailing and superior craftsmanship of magnificent family residences. Showcasing 14 classically inspired homes of grace and beauty, each property reflects an astute comprehension of life as it is lived in the 21st century, with deliberate nods to historical aesthetics that coexist harmoniously with the architectural language of natural light, passive design themes, voluminous space, and fabulous comfort. Inspired by the bounty of classical architecture found in the grand homes of the southern United States, particularly the state of Georgia, the hallmarks of William T. Baker’s architecture are extraordinary attention to details of craftsmanship and construction, and a keen eye for scale and proportion. His work clearly reflects the aspirations of the American Dream. This beautifully photographed monograph of William T. Baker’s work is the third volume in IMAGES’ successful New Classicist series, and showcases the exquisitely designed homes of the modern family, who entrusted Baker with their dreams and visions, and whose trust has been rewarded with classically inspired homes of grace and beauty. His work contributes greatly to some of the most aesthetically pleasing residences being built in the United States today.
Richard Manion Architecture creates distinctive residences and estates with a respect for traditional forms and historic imagery adapted to modern living. The curated selection of rarely published projects in this second volume of RMA’s work, Streamlined, demonstrates the firm’s signature classicist style, which draws upon traditional and streamlined classical, regional, and contemporary influences to reflect authentic details, proportions, and a sophisticated sense of place for the 21st century.
In this book, the firm’s focus is on the integration of modernism within an overall framework of simplicity and restraint, discretion and harmony. Academic studies of European modernism, with its visionary approach and embodiment of the machine age, have come back to inspire, but with the understanding that many of its roots can be traced back to the heritage of classical design principles. This exquisite, fully illustrated volume showcases RMA’s goal to unite ideas about tradition, history, and modernity in a synergy and explores the meaning of shared architectural imagery and heritage for our time.
The winners of the 2017 Pritzker Prize are featured in a+u 15:11 RCR Arquitectes – Journey. Founded by Rafael Aranda, Carme Pigem, and Ramon Vilalta in 1988, the Spanish trio are known for their diverse set of influences, including Olot their hometown. Instead of a normal project based monograph, this issue reflects on the influences of RCR and how it shapes their design philosophy. It chronicles their humble beginnings starting a firm together in Otot after graduation to their most recent achievements. Ideas such as local landscape, learning from Japan, and shared creativity are explored. RCR’s design process is presented through collages, sketches, paintings, and models which test ideas that are incorporated into their projects. Their humble approach to shared creativity, the sum greater than the parts, has produced extraordinary work. Text in English and Japanese.
The 21st Silver Triennial International 2025 publication presents striking silver objects that create a stimulating contrast between utilitarian items and artistic works. Exceptionally designed utensils stand alongside surprising objects that arouse curiosity and illustrate the diversity to be had when working in silver. What they share is a deliberate integration of form, surface design, and intention, creating pieces of strong character and high quality. Renowned designers and up-and-coming artists submitted their works to the competition. The 67 exhibits by 59 silversmiths from 15 countries include the prize-winners Yeunhee Ryu, Yong-il Jeon, Jieun Park, Yegyu Shin, Siqiu Zhang, Jae Hui Jeong, Carl Kankowsky, and Rebecca Bierbrodt, who receive special mention.
Text in English and German.
10 Years of Remembering Wildlife is the tenth book in the Remembering Wildlife charity series, which has so far raised more than $1.5 milion US Dollars for conservation. It will be an anthology of images selected from each of the previous books in the series (elephants, rhinos, Great Apes, cheetahs, lions, African wild dogs, bears, leopards and tigers) plus new for this year: pangolins. The aim of the creators is to make the most beautiful book ever seen on the species and to use that to raise awareness of the plight facing that animal, which this year will be pangolins and also funds to protect it. Each book is full of images generously donated by many of the world’s top wildlife photographers. All profits from the sale of this book will be donated to projects working to protect pangolins.